Beginnings and Endings in Films, Film and Film Studies Beginnings and Endings in Films, Film and Film Studies, University of Warwick, 13th June 2008 A report by Martin Zeller, University of York, UK This conference, organised by Tom Hughes and James MacDowell (both of University of Warwick), examined the beginnings and endings of individual films and structures of beginnings and endings in films more generally, as well as notions of beginning and ending in film studies as a discipline. With such a wide remit it is not surprising that links between the various presentations were sometimes difficult to establish. However, the wide variety of approaches to the topic ensured lively discussions. The tone for the day was set by the keynote paper delivered by Warwick's own V. F. Perkins. Examining beginnings and endings in the genre of 'multi-story' (or portmanteau) movies, Perkins elucidated the various methods used to make the author the focus of these multi-stranded narratives. Drawing on the literary cachet of their source texts, Quartet, Full House and Le Plaisir make Maugham, O. Henry and Maupassant the respective loci around which their stories revolve. Pointing out that authorial intrusions were, with the exception of Le Plaisir, used only at the beginnings of such films, Perkins suggested the possibility of a largely unexplored narrative technique available in returning to the author at the close of a film. However, it was Professor Perkin's call for, 'an aesthetics of the quite good, of the satisfactorily effective, as well as the extremes: the abject and the sublime,' that seemed to resonate most with the delegates and to become a touchstone for the day's later discussions. The first panel had the daunting task of examining the notion of beginnings and endings in the disciplines of film and television studies. Andrew Klevan (St. Anne's College, Oxford) examined the tendency of Stanley Cavell to return, over and over again, to the same moments in his writings on film. Suggesting that such an openness to the surprising, easily overlooked moments in cinema might lead us to unexpected places, Klevan cautioned against the tempting shortcut of over-arching theory. Avoiding the trap of necessarily false beginnings and endings, he advocated returning again and again to those moments in films which might unlock their secrets to us. Next, Charlotte Brunsdon (Warwick) examined the relatively new phenomenon of television 'bingeing'. Made possible by DVDs and digital recording devices, this sort of viewing usually consists of prolonged periods of viewing a single serial text. Brunsdon rejected the easy negative characterisation of 'bingeing' and its return to the 'addiction metaphors' which have often plagued analysis of television viewing. Her paper used as its focus the seminal British series Law and Order. Soon to be released on DVD, it constitutes potentially binge- able material, but Brunsdon questioned whether a text so dependent upon being viewed over a prolonged period of time would be accessible to 'binge' viewers. Ultimately, the crucial effects of the beginnings and endings of such older programmes, she suggested, were likely to have their impacts lessened by the blurring of narrative boundaries inherent in television bingeing. The second panel focused more narrowly on the notion of beginnings and endings in film as a medium. Paul Cuff (Warwick) discussed the director Abel Gance and his failed transition to sound in the film La Fin du Monde. Cuff situated Gance's film in its historical context, explaining its origin and its failure in Gance's idiosyncratic views. Michael Pigott (Warwick) suggested that the oft-noted (and oft-lamented) influence of video games on films did not begin and end with this simple exchange, but was best characterised as a feedback loop. Drawing on Children of Men and Cloverfield from the cinema as well as the Call of Duty series and Half-Life 2 from the world of video games, he made a compelling case for a mutually supported cycle of influence moving between these media. The keynote address, delivered by Michael Walker, focused on the endings of Steven Spielberg's films, sketching a path from The Sugarland Express through Empire of the Sun and War of the Worlds. Arguing that Spielberg's endings were characterised by an increasing tendency towards what he called 'the rhetoric of an ending' or 'self-consciousness about the ending as ending', Walker offered Spielberg as an exceptional practitioner of the characteristic 'Hollywood' ending which draws the viewer out of emotional engagement and into 'aesthetic contemplation'. Professor Walker's auteurist approach to the topic did not find favour with those delegates for whom the terms 'Spielberg' and 'aesthetic contemplation' seemed mutually exclusive. However this disagreement led to one of the liveliest plenary discussions of the day. The day's final panel consisted of three short papers. The first, by Lucy Fife (University of Reading), examined the way George A. Romero engages his audiences through the tone of his films Dawn of the Dead and Day of the Dead. Comparing the openings of both films, Fife suggested that Romero sought to position his viewers so that they shared the vulnerability of his heroines. Tom Brown (Reading) examined Fellini's Notti di Cabiria, challenging Bazin's assertion that the film lacked enchainment dramatique, and suggested that the ending's famous moment of direct address resulted from an emotional logic running throughout the film which required the film to burst through the normal constraints of (neo)realism. Stuart Henderson (Warwick) queried the idea of closure in the classical Hollywood narrative in the current climate of sequelisation and multi-media adaptations. Examining the most recent instalment in the Rambo franchise, Henderson asserted that, although each of the Rambo films have attained narrative closure within themselves, each subsequent sequel has required a knowledge of the earlier films for full access to its emotional and narrative threads, to the extent that the final shot of the most recent film echoes the very first of the series. Henderson argued that a financial and historical understanding of films and their sequels would be a necessary adjunct to the textual if this trend were to be fully explored. Perhaps inevitably for a conference with such a variety of topics to cover, this one left more questions than answers. Several papers hinted at a breakdown of traditional textual boundaries caused by a variety of new media practices. Others sought to re-examine older films from newer approaches. Yet while all of the presentations offered something of interest, it was difficult to find ways to draw them together in the panel discussions afterwards. The conference particularly struggled to address the broadest ideas in its remit: those of beginnings and endings within the disciplines of film and television studies. At their best, the papers on offer dealt with one or two films, drawing on those small examples to make broader points. The more theoretical, less grounded pieces were intriguing but left the delegates waiting to be convinced. Music and the Melodramatic Aesthetic Music and the Melodramatic Aesthetic, University of Nottingham, 5 – 7 September 2008 A report by Serena Formica, University of Birmingham, UK The Music and the Melodramatic Aesthetic conference was part of an AHRC-funded project, under the auspices of MOSS that aims to respond to the lack of academic studies on the role of music in melodrama. Over the period of one year, the project has seen the collaboration of scholars and graduate students from a variety of disciplines (music, drama and film), and has explored melodrama as 'a performance process' and has investigated its legacy, spanning theatre and film. The project has included a study day, various workshops and a British silent film festival panel held at the Broadway Cinema and Media Centre in Nottingham. The conference was hosted by Nottingham's Department of Music, and its papers were divided into nine panels exploring music and the melodramatic aesthetic including music as text, mediator, recitation, voice and technological transformations. The panel dedicated to the exploration of 'music as text' investigated the function of music in the early melodramas. Kate Astbury's (University of Warwick) paper 'Performance, the press, and the rise of melodrama in France' explored the role of music in early French melodramas through an examination of Guilbert de Pixérécourt's plays. Astbury's paper considered how Pixérécourt dramas were reflective of the French political situation of the time. Victor, described as the 'first historical melodrama' was written in 1789 and can be understood in some senses as enacting the Revolution. Although music plays a central role in Pixérécourt dramas, Astbury pointed out how theatrical critics of the time were initially dismissive of it. This attitude resulted on the one hand from the fact that Pixérécourt preferred to employ theatre composers instead of established ones, and on the other hand from the fact that music composed for melodrama was generally held in low esteem. However, noted Astbury, 'not all the critics remained silent' and some highlighted the overlaps between music composed for melodrama and for opéra comique. Astbury's talk encouraged music scholars to undertake further research on the 'role of music in the origins of melodrama'. In the lively question and answer session that followed, Astbury highlighted the lack of original scores of Pixérécourt's plays, and pointed to the role of music in shaping the audience's reaction. During the conference, the delegates had the rare opportunity to experience the screening of Frank Lloyd's silent film Within the Law (1923), in a theatre with live piano accompaniment. Philip Carli's performance was one of the highlights of the conference, and, in accordance's with the conference's aim, enabled us to appreciate the fundamental role of music during the silent film period.